Answer:
well i WAS a gymnast but its just TOO HARD!!
Explanation:
Compound. if there is two sentences or for example" I like flowers, but I'm allergic to lillies." would be a compound a simple sentence is like "that flower is blue."
Answer:
1. Assemblage is an artistic form or medium usually created on a defined substrate that consists of three-dimensional elements projecting out of or from the substrate. It is similar to collage, a two-dimensional medium.
2. Other events that made history that year include the Vietnam War's Tet Offensive, riots in Washington, DC, the landmark Civil Rights Act of 1968, and heightened social unrest over the Vietnam War, values, and race.
3. line, shape, color, texture, and space.
4. Landmark was made during the summer of 1968 using images transferred from current issues of LIFE magazine. Inverted placement, layering, and significant variation in tone initially mask the fact that many of the images of people, animals, and objects are duplicated
Explanation:
hope it helps brainliest pls
Here are some advice
- find a song that you know the lyrics of
- find a song you are comfortable to sing
Hope this helped!
Answer:
Between his first recording session in 1944 and his death in 1991, Miles Davis changed the course of music many times. The first of these came with the short-lived lineups he assembled for a New York residency and three studio sessions between January 1949 and March 1950. The nine-piece lineup was unusual – few jazz bands used a French horn – and the gigs attracted little attention. The sessions produced a handful of singles for Capitol Records, later collected as an album called Birth of the Cool – these ensured the band’s shadow would prove longer than all but a handful of its contemporaries.
The recordings were the result of hanging out after hours at arranger Gil Evans’s basement flat. The punchy, brightly coloured Venus de Milo was one of three tracks the group recorded that was composed by saxophonist Gerry Mulligan. The epithet “cool” isn’t entirely helpful, suggesting a prizing of style over substance: this music is never aloof or detached. Rather, this is what you got when you tuned down the frenzy of Charlie Parker and Dizzy Gillespie and allied it to the kind of sophisticated big-band arrangements Duke Ellington pioneered. Davis was a fan – and a part – of both traditions: not for the first time, what he crafted was a fusion of preceding forms that changed what would follow.
Explanation:
